Grateful Dead Live at Hollywood Palladium on 1971-08-06
Playing In The Band
Me And Bobby McGee
Hard To Handle
Casey Jones Six Days On The Road
Watcha Gonna Do
I Don't Know You
Down In The Boondocks
Workin' Man Blues
The Only Daddy That'll Walk The Line
Fair Chance To Know
Last Lonely Eagle
Sweet Lovin One
The Other One ->
Me And My Uncle ->
The Other One
Turn On Your Lovelight
Collection GratefulDeadBand/Artist Grateful DeadVenue Hollywood PalladiumLocation Hollywood, CASource (FOB) Sony ECM-22P condenser mikes into a Sony 770 portable 7 '' reel deck @ 7 1/2 ips. .Lineage MAR (Harvey Kaslow)* @ 7 1/2 ips. > R @ 7 1/2 ips. (Will Boswell via Rob Bertrando) Maxell UD tape > CD --- R copied @ 7.5 ips using a Revox A-77>A-77 --- Mastered to cd by Matt Smith --- Playback info: R > Akai GX625 > apogee mini me (24/96) > apogee mini dac (monitoring) > Lynx One soundcard > wavelab 5.0 (dithered to 20/44) > CD ** > EAC > WAV (shntool confirms no sbes) > FLAC (TLH)Taped by Harvey Kaslow and Craig ToddTransferred by Matt Smith
WRS Prelude tease after Me And My Uncle
I want to thank Will Boswell & Matt Smith for this gem, and especially Matt for his generosity and friendship.
8 5 & 6 1971 are legendary audience recordings. they simply sound great!
while I'm sure you're content if not ecstatic with what you already have, there are a few reasons to consider acquiring this dat-less version new to general circulation (and please understand this isn't a competition and I'm not trying to pit Charlie Miller against Matt Smtih).
the most recent version to circulate is the one Miller remastered:
I have no idea why Me and Bobby McGee is missing from this reel
there are a few reasons to put this source into general circulation:
1. it's important to preserve your right to choose
you're the expert in this case and can decide what sounds best to you. you, the listener, should have the choice. it would be wrong of me to hoard this and rob you of your choice in other words. when it's this close I'm not going to arrogantly tell you what sounds better or best to you.
2. lowest hq generation sources should be available
since we're dealing with hq sources in both cases, this source is technically the lowest generation we have seen and should be in circulation at a minimum. that should be a key goal to preserving the music we love so dearly, to make hq sources with the lowest generation available.
3. known transfer
another reason to add or prefer this source is we have no idea when or how Miller's most recent versions of these shows were transferred whereas we know Matt recently transferred this reel with professionally endorsed techniques and high end equipment. we simply know Miller received his DATs in 2000. As Miller explains, "I got my DAT of this show back in 2000. I have no clue as to how it was transferred. I'm sure Matt's A>D is better than the one in the deck used back in 2000."
4. unedited hq seeds should circulated at a minimum
Miller's source was "remastered" which isn't always a good thing, especially if that's all we have. Raw, hq transfers, should circulate at a minimum and are the best was to preserve the music. Once these sources are available, then remasters may or may not be desirable. But since remasters can make irreversible changes, locking us into the subjective bias of the editor, we need these hq raw transfers before we should consider possible enhancements. In this case, pitch correction has proven to be tricky business. We've seen tech wizards debate whether or not it was done correctly. Since it's very easy to over or under correct, and even tech wizards often disagree, we can only go on what feels, sounds, or seems right. Because of this difficulty, we should make sure sources like this are available.
* Recorded By Harvey Kaslow and Craig Todd
(FOB) Sony ECM-22P condenser mikes into a Sony 770 portable 7 '' reel deck.
** For the purpose of archival documentation, here are additional notes on how this seed was made, and why it was made this way. As Matt explains:
"My basic approach to transferring/mastering is LESS IS MORE. The basic goal should be to attain the cleanest signal possible going TO digital. It all starts with analog Equipment in top condition. I've had my equipment restored and even the tape heads aligned. I also clean all the heads/ect. every reel side I play which is also paramount. Audio cables are very important as well to get a good clean signal. There can be a big difference at times depending on whatever you are using which is a whole other chapter. Now comes the most important part, the A/D conversion. I personally use Apogees just because they are the best in our specific usage IMHO. Apogee's are renowned for their 'UV22HR' dithering algorithm. this specific algorithm is used in about 80% of all the mastering houses across the country and most of the stuff you hear commercially uses this. Even if dithered down to 16/44 it 'sounds' like a 24/96 to put in simple terms. So basically load in at 24/96 then dither down and you've got yourself a nice, clean file to work with. Now the DAT thing. DATS/CD recorders are great but that's really the 'end of the chain' so to speak. I don't mean to be a name dropper but when I was struggling trying to learn the "what the hell's the difference??" debate Jeffrey Norman put it best, "the A/D converters in DATS and CD's are compromised since it's crammed with other equipment resulting in a loss of overall dynamics. a stand alone A/D converter that was made specifically for that purpose before going to DAT/CD/DAW is always the way to go if done correctly"... This simple fact is mainly not even considered (or understood) by most people but still, the most vital part in the transfer chain without question. There is no doubt to me (and others) there is more dynamic range or overall a more defined sound vs. something going into just a DAT/CD recorder from analog. A nice fat(and clean) low end is also part of the result as well lots of times that DAT transfers are missing at times. Proper monitors are also very important too!! I have a Mini DAC hooked into a Hafler 550 watt power amp going to a pair a very nice Audix studio monitors. One needs to HEAR the flat uncolored signal when editing anything IMHO. Otherwise something can be ruined forever b/c some guy decides to NR/EQ and no one will know the difference 20 years from now!! Original transfers should be treated with great care and that's what I basically try to do to the best of my ability. When I get it all done I also have the unique luxury of owning Jerry's old McIntosh stereo system(MR77 tuner,C28 Pre and MC2105 power amp)"
September 19, 2013
hi from guy next to taper
This was my 3rd GD show. I was 19. Awesome and very memorable. Hello to the taper- I think there was only 1 of you with the big reel to reel 1/4" deck. I was standing right next to you, on your right when you first set up. How can I prove this? Well, nobody else can say this...I distinctly remember you unscrewing the brass cover cap to the AC outlet in the wood floor before the show to use as a power source. At the time I thought "That's pretty ballsy! I wonder how long before security shows up." But security never did, and a while later Bobby looked down and told you to move back for better sound. I thought that was cool at the time. We smoked so much hash that I had to go drink coffee at the kiosk in the lobby during part of Truckin'; downed 3 cups as fast as I could and then back to my spot. During the show,looking at Jerry the furry freak, Bobby the pony tail skinny kid, and Pigpen the hard lookin guy, I remember thinking "Who are these guys, hippies, cowboys or bikers??" We danced our asses off that night and they ripped our heads off with the jams. Gimmie 5, I'm still alive, and I hope you are too. Drop me a note at timsroad@yahoo if you read this. Long fun trip.
January 4, 2013
Sirius Sound Bite
On the first track a few seconds in, Weir is heard giving instructions to a taper to move back about 40 feet if he wants to get a good recording. I have heard this soooooo many times on Sirius XM's Channel 32 (GD Channel) and now I know which show it comes from! In general though, this is a poor recording.
April 11, 2009
I sort of remember this night...
Oh, heck. I remember it just fine. It was my 17th Birthday Party! What a great show!
First my favorite lineup of NRPS w/Garcia playing pedal steel and then this gem of a performance. This is also the turning point for shows being really well recorded. Tapers were coming around to much better mics and decks and the rest is history, as they say. Not that there weren't well recorded shows before this, just that they all came from the board.
Thanks a million for making this available and rekindling some 38 year old celebration! Around this time, I got to work as an LD with this band. What a mighty high time it was.
I think we went to Santa Monica and slept awhile before heading home. You know the old adage about the 60's...The early 70's weren't much different.
January 15, 2009
great version, thanks so much...
January 15, 2009
The GRATEFUL DEAD "Live" August 6, 1971 at the Hollywood Palladium, Hollywood, California U.S.A.
Thank you Harvey Kaslow and Craig Todd for recording this show 38 years ago. Thank you to Matt Smith for the transfer and your integrity.
I agree 100% with Mr. Smith's remarks at the bottom of the page. I want to be able to pick what sounds good to me, and this sounds good to me.
This is a "Must Have" show for all collectors of 1971 GRATEFUL DEAD.
Nice to hear the audience enjoying themselves, it adds to the energy of the show.
The description lists some songs from the New Riders of the Purple Sage that do not appear in the download playlist.
I highly recommend adding this show to your 1971 GRATEFUL DEAD collection.
Eat, Drink, be Merry, and Listen to the GRATEFUL DEAD.
Thanks for the Love.
Evan S. Hunt
November 27, 2008
My Soundtrack = West Side Story
Recommend Download if you have the window. This is a great recording of a great performance in the latter stages of the original band.
Listening to this superb AUD and watching the film West Side Story simultaneously with the movie sound muted will cave your respective consciousnesses.
Every song succinctly paints every scenery and breathes life a-spring. It like as if the music were written for the visual as the visual was being written by the music.
This is one of the last performances of Pigpen on organ. His keyboard work is stunning. It's evocative, it's sublime, it supplies that last needed aspect of the spectrum. He played the organ so well that we all could have wished he played so well all the time, but alas, he could not, yet, on this night, he did. And here it is.
Perhaps the greatest of songs on this setlist is the Hard to Handle. It is superb. It gets you up and dancing and spinning until you think you can't stop. You become the film. You become like you're Natalie Wood or Russ Tamblyn!
Every version of every song is absolutely amazing!
The recording succinctly captures both eras of 1950's Bronx, and 1960's Haight.
Thankful was I to witness both Berkeley performances a week later in '71 (8/14 & 8/15) and those shows were along this passionate line, but the SBD's that exist of all 3 of these shows do not reflect the soul as accurately and passionately as these splendid undoings.
This is a raving good time show and a raving good catch and patch of a dauntless recording. Our hats are off, our heads rolling.
Mr. Charlie - Lambertville
September 5, 2008
Thoroughly enjoyable. Plenty of thunder juice! Amazed at the aud quality.